This paper focuses on the translation of audiovisual humour. I have analysed Petr Palouš's translation of Monty Python's Flying Circus. The translator of audiovisual humour has to deal with the same issues and problems as the translator of literature, that is he has to find equivalents to word plays, idioms, register and so on, but at the same time he also has to comply with the restrictions of audiovisual medium. I have identified the most common translation problems when translating humour and audiovisual texts and possible strategies of their translation into the target language, and then analysed how Palouš dealt with these cruces translatorum when translating the Flying Circus.

This thesis is aimed to the particular case, which is mostly called as "The case of Rath" or ,,The David Rath's case". This thesis follows the development of this case in Czech media, especially on social networks, which are increasingly being used for the expression of the general mood in society. The work deals with not only the content but also the formal aspect of the individual contributions from (mostly anonymous) Internet users.. In the introduction we research so called ,,folk creativity", development and possible forms of it, and we also deal with the concept of humour and relation of this phenomenon with the Czech national character. For understanding of the context we include also a brief summary of the case and its reflection in the Czech media. The main part of the thesis is the interpretation and analysis of the online contributions, which respond to the case. Specific creations (listed in the annex to this work) will be examined from the point of view of the relationship of text and image, from the point of view of the topic and processing (in particular in the form of comparison), and last but not least, in terms of the use of language resources, which the authors of contributions used for the achievement of the hyperbolic nature. In conclusion of the thesis we present some examples of the...

Introducción: El humor tiene un papel importante en la promoción de un envejecimiento exitoso y saluda-ble. Sin embargo, su estudio científico es aún limitado, en parte debido a la ausencia de medidas validadaspara su uso en el ámbito latinoamericano. El objetivo del estudio fue traducir al espa˜nol y examinar lasevidencias de fiabilidad y validez basadas en la estructura interna, convergente y discriminante de laversión peruana de la Coping with Humor Scale-5 ítems.Materiales y métodos: Los participantes fueron 236 adultos mayores peruanos (78,4% mujeres y 21,6%hombres) con un promedio de edad de 72,8 años (DE = 6,90). / Revisión por pares

Examining the print media representations of South African runner, Caster Semenya, is the focal point of this study. Both local and international print media are considered. The dissertation sets out to draw parallels between the representation of Semenya and early 19th century representations of Sarah Baartman. Links between the race of these two women and their “othering” on the basis of their gender are drawn. The study explores the medical and scientific justifications for “othering” these two women, the lack of agency that is attributed to both Semenya and Baartmann, and also discusses the use of humour as a tool of negotiating their “otherness”.

Cette recherche a pour objet l’étude de la production humoristique et l’appréciation de celle-ci chez les enfants. Pour ce faire, nous avons trois objectifs distincts. En premier lieu observer si l’âge des enfants a un impact sur leur production d’histoires drôles, par la mise en oeuvre d’un protocole permettant la création de productions humoristiques en situation non-naturelle. En second lieu tenter de déterminer ce qui distingue une « histoire drôle », d’une « histoire neutre », en faisant raconter deux types d’histoires à chaque enfant. Et enfin d’observer l’appréciation du caractère humoristique des histoires par des enfants chargés de juger les productions des camarades du même âge. Les résultats portent sur l’analyse des histoires inventées par 69 enfants de 4, 6 et 8 ans séparés en trois groupes d’âges et sur les éléments humoristiques relevés par les enfants eux-mêmes. L’appréciation est évaluée par trois groupes d’enfants-juges composés de trois enfants du même âge que les enfants-auteurs. Les résultats révèlent un impact de l’âge sur la complexification des histoires et sur la diversité des éléments humoristiques relevés en faveur des enfants les plus âgés. La distinction entre les histoires neutres et les histoires humoristiques est mise en évidence par la présence et le nombre d’incongruités relevés dans les récits, on trouve un plus grand nombre d’incongruités dans les histoires humoristiques que dans les histoires neutres, et ce pour les enfants de 4, 6 et 8 ans. Enfin, les histoires humoristiques sont davantage cotées comme drôles par les enfants-juges que les histoires neutres, les histoires drôles sont appréciées par les enfants du même âge que les enfants auteurs. / This study concentrates on the analysis of the production of humoristic stories and how children understand it and respond to it. In order to do so, we have three distinct goals. First, we need to observe whether or not the age of the children has an impact on their production of humoristic stories by implementing a protocol which will allow the creation of humoristic tales outside a natural context. Then, we will attempt to determine what characteristics distinguish a “funny” story from a “neutral” one by making the children tell a story of each kind. Furthermore we will observe attentively the reaction of children charged to judge stories told by children of the same age. The results concentrate on the analysis of the stories created by 69 children aged of 4, 6 and 8 years old divided in three groups according to their age. The results are also about the humoristic elements pointed out by the children themselves. The appreciation is evaluated by three groups of children-judge made of three children of the same age as the children-authors. The results show an impact of the age on the level of complexity of the stories and on the diversity of humoristic elements in favour of the older children. The distinction between neutral and funny stories is emphasized by the presence and the number of incongruities noticed in the tales. We can find a larger amount of incongruity in the humoristic stories than in the neutral ones. This is true for the tales of all the children, whether they are 4, 6 or 8 years old. Finally, the humoristic stories are more often judged as funny by the children-judges in comparison to the neutral stories. Also, the humoristic tales are usually appreciated by the children having the same age as the children-authors.

Deux objectifs centraux sont au cœur de cette thèse menée sur la compréhension de récits chez des enfants d'école élémentaire (i.e., de 6 ans à 10 ans). S'agissant du premier objectif, la compréhension des différentes facettes de la dimension émotionnelle d'une histoire (i.e., émotion désignée, expression comportementale de l'émotion et émotion à inférer) est examinée ainsi que le type d'informations émotionnelles que les enfants privilégient pour produire des inférences prédictives (i.e., c'est-à-dire la capacité à anticiper sur ce qu'il va se passer dans la suite d'une l'histoire). Deux supports de présentation des histoires de littérature jeunesse ont été comparés (i.e., auditif vs. audiovisuel). Trois principaux résultats sont à considérer. Premièrement les enfants de 6 ans ont le plus de difficulté à se représenter la dimension émotionnelle ainsi qu'à produire des inférences prédictives. Deuxièmement, les émotions à inférer sont difficilement représentées par rapport aux émotions explicitées dans l'histoire (i.e., émotions désignées et comportementales). Troisièmement, le caractère généralisable des habiletés de compréhension de la dimension émotionnelle a été confirmé. S'agissant du deuxième objectif, il consiste en l'étude de l'appréciation (i.e., c'est drôle/c'est non drôle) et de la compréhension (i.e., niveau d'interprétation de l'information humoristique) des informations humoristiques et non humoristiques des histoires de littérature jeunesse. Deux types d'informations humoristiques ont été considérés : l'humour de situation (i.e., comique de situation) et un humour plus complexe qui nécessite la production d'une inférence (i.e., interpréter un jeu de mots). Les principaux résultats montrent que les enfants discriminent mieux les évènements non humoristiques que les événements humoristiques. Pour les évènements humoristiques, ils apprécient mieux l'humour de situation que l'humour qui requiert la production d'une inférence et ce d'autant plus qu'ils sont jeunes. Aussi, la situation audiovisuelle favorise l'appréciation de l'humour alors que la situation auditive favorise la représentation des informations non humoristiques. Enfin, pour interpréter l'humour, les jeunes enfants favorisent des explications de haut niveau alors que les plus grands n'ont pas de préférence. Les résultats seront interprétés à la lumière de la littérature existante sur ces deux domaines d'investigation. / The aim of this thesis was double. First, we explored how children aged 6 to 10 years monitor and represent the emotional dimension of stories. Three types of emotional information were distinguished: emotional label, emotional behavior and emotion requiring an inference. The two first studies examined the representation of these types of emotional information usually encountered in natural stories both in auditory and audiovisual context. The third study focused on children's ability to use emotional information to make predictive inferences (i.e., children had to anticipate what would happened next in a story). The main results indicated that young children (i.e., 6 years old) encountered more difficulties to make emotional inferences and predictive inferences than the olders. Moreover, results showed that children more accurately represented emotional label and emotional behavior than emotional inference. Finally, the results revealed that the ability to understand the emotion was generalizable across different media. The second purpose of this thesis was to study how children aged 6 to 10 years identify, appreciate and understand humorous and nonhumorous passages in auditory and audiovisual natural stories. Two types of humorous information were considered: protagonist's humorous behaviors (i.e., explicit humor) and implicit humorous information that required the ability to make an inference. The main results revealed that children more easily identified nonhumorous passages compared to humorous ones. Furthermore, the audiovisual situation favored the identification of humorous passages and auditory situation promoted the identification of nonhumorous passages. Finally, to interpret humorous situations, young children use more often high explication level and old children use similarly high and low explication levels. These findings were discussed regarding literature.

A partir de algumas considerações sobre o humor e as narrativas jocosas na comunicação e na linguagem, esta pesquisa se concentra no estudo de um personagem folclórico misto de sábio e bobo largamente conhecido entre os falantes da língua árabe pelo nome Juha e de algumas anedotas por ele protagonizadas, pondo em foco as suas principais características e os temas relacionados: sociedade, política, miséria, entre outros; além de apontar a presença de algumas anedotas em diferentes livros, do século X ao XXI, inclusive numa coletânea editada por Mussa Kuraiem em São Paulo na década de 60 do século passado, o livro Giha, Hoja e Nasredin, que constitui o corpus desta dissertação. / Starting from some considerations about humor and playful narratives in communication and language, this research focuses on the study of a mix of wise and foolish folkloric character - widely known among the speakers of the Arabic language by the name Juha - and on some anecdotes played by him, bringing into focus their main characteristics and issues: society, politics, poverty, among others, while pointing out the presence of some anecdotes in different books, from X to XXI century, including a collection edited by Mussa Kuraiem in São Paulo in the 60s of the last century. This book, Giha, Hoja and Nasredin, forms the corpus of this dissertation.

Esta tese visa a esmiudar, a partir de uma abordagem marcadamente intratextual, a questão do humor e da alegria em Tutaméia: terceiras estórias de Guimarães Rosa. No primeiro capítulo, apresentam-se considerações mais teóricas e gerais sobre o tema, que aparece, em Rosa, matizado pelas sombras da angústia, da dormência, do trágico; ambos, alegria e humor, espontam de uma hermenêutica inteiramente varada pela consciência do absurdo. No segundo capítulo, discute-se a relação entranhada da própria forma lacunar da obra com esse espírito intransparente, ao mesmo tempo melancólico e venturoso, que a constitui. No último capítulo, interpreta-se o prefácio Aletria e hermenêutica, esquadrinhando os artifícios de composição de parte de suas anedotas, e trazendo à luz a fabulação paradoxal, chistosa e sublime do texto. / This thesis aims to go through, from a markedly intratextual approach, the matter of humour and joy in Tutaméia: third stories by Guimarães Rosa. In the first chapter, rather theoretical and general considerations are presented on the theme that appears, in Rosa, tinted by the shadows of anguish, of dormancy, of the tragic; both, joy and humour altogether, emerging from a hermeneutic which is entirely transpassed by the awareness of the absurd. In the second chapter, is discussed the deeply rooted relationship of the lacunal form itself of this Rosas work with the opaque spirit that constitutes it, melancholic and blissful at the same time. In the last chapter, the preface Aletria and hermeneutics is interpreted, scrutinizing the composition artifices of part of its anecdotes, and bringing some light to the texts paradoxical fabulation, witty and sublime.

Luigi Pirandello é presença marcante e definitiva na literatura do século XX, como um dos principais representantes do Decadentismo italiano, não somente como dramaturgo, campo em que se destacou mundialmente, mas também com sua significativa e inovadora obra narrativa. O presente trabalho propõe-se a analisar a poética do autor, que destrói a forma de narrar oitocentesca, e tem como temas a fragmentação do sujeito, a alienação e a relatividade da vida moderna, numa crise de tudo o que é absoluto. Para isso analisamos um dos principais romances pirandellianos, Quaderni di Serafino Gubbio operatore, obra que traz suas reflexões sobre a crise do mundo moderno gerada pelo progresso tecnológico trazido pela civilização industrial, que teve como conseqüência a mecanização e a aceleração do ritmo de vida nas grandes metrópoles. O trabalho tem como partes integrantes o que entendemos ser os temas fundamentais da obra: a crise de valores no mundo moderno mecanizado e a invasão da tecnologia no campo das artes, representada pelo cinema. Tomando como base os textos dos principais críticos da obra de Pirandello e daqueles que trataram das mudanças da obra de arte na sociedade industrial, apresentamos considerações que demonstram a preocupação pirandelliana não só com o humano, mas também com o futuro da arte e do teatro numa sociedade alienada pelas máquinas, o que faz do autor um dos maiores pensadores do século XX. / Luigi Pirandello is a remarkable and definite presence in the literature of the twenty century, as one of the mainly representative authors of the italian Decadentismo, not only as a dramaturge field in which he is wordly famous but also with his innovative and significant opus. The present work proposes to analyze the authors poetic, that destroy the 19th century prevalent way of work, and it has as theme the fragmentation of the subject, the alienation and the relativity of the modern world, a crisis of everything that is absolute. To prove this point we have analyzed one of the mainly pirandellianos romances, Quaderni di Serafino Gubbio operatore, opus that brings his serious and careful thoughts about crisis in the modern world generated by technological progress brought by industrial civilization that has had as consequence the mechanization and acceleration of the life rhythm in big metropolis. The work contains within something which we understand to be the fundamental themes of his opus: value crisis in the mechanized and modern world and the invasion of technology in the field of arts, represented by the cinema. Taking as basis the texts of Pirandellos mainly critics and the texts of those who treated the changes that had been occurred in the work of arts inside the industrial society, we present considerations that can demonstrate pirandellianas preoccupation, not only with the human being, but also with the future of art and theatre in a society that had been alienated by machines what transforms the author in one of the greatest philosopher of the twenty century.

Essa dissertação tem como objetivo analisar os contos da escritora Dorothy Parker em diálogo com seus poemas, tendo em vista a modernidade com a qual construiu suas histórias e o papel do humor em sua criação. Ao analisar as obras dessa autora de grande destaque nos Estados Unidos da América do Norte, nos anos 1930, veremos como o humor se transforma numa importante ferramenta que se relaciona com a construção do feminino e com a questão social da mulher, a fim de desestabilizar e transformar o status quo. O estudo, com o apoio teórico de Vladimir Propp e de Henri Bergson, intenciona demonstrar que, embora Dorothy Parker possa ser considerada uma escritora datada, seu senso satírico continua atual e reflete claramente o contexto no qual as mulheres estavam inseridas. / The aim of this study is to analyse Dorothy Parker´s short stories in dialogue with her poems in order to show the modernity of her writings and the function played by humour. Analysing the works of the great american writer in the thirties, we see how humour is used as a tool in the construction of the feminine and the social role of women, with the purpose of destabilizing and making a change in the status quo. The theoretical framework based on Vladimir Propp and Henri Bergson helps to demonstrate that in spite of Dorothy Parker´s work being considered dated by some, the satiric sense that emerges from her writings is still present in our times and reveals the context in which those women were inserted.